Botticelli

University of California
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STERS IN ART

ttittlli

ENTINE SCHOOL

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MASTERS IN AHT. PLATE I.

BOTTICELLI

VIEGIIf AND CHILD WITH ST. JOHN

LOUVEE, PAHIS

MASTERS UT AHT. PrATE II.

BOTTICELLI

POHTKAIT OF PIERO BE' MEDICI THE yOUNG-ER

UFFIZI GALLERY, FLOHENCE

MASTEKS IJSr AET. PXATE IV.

BOTTICELLI
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tJFFIZr GALLERY, FLOHENCE

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MASTERS I2!r AKT. PIATE VI.

BOTTICKT.TJ
PAI.LAS AND A CKNTAUH
PITTI PAILACE, FLOHENCE

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MASTERS UT AET. PLATE VH.

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MASTERS llf AHT. PLATE IX.

BOTTICEIilil
POHTHAIT OF A WOMAN
STADKL INSTITUTE, FKANKFORT

MASTEES IJV AKT. PLATE X.

BOTTICELLI

THE JVATIVITT

NATIONAL GALLEKY, LOIfDON

POHTKAIT OF iJOTTICELLI

BV HIMSELF

In Botticelli's picture of the "Adoration of the Magi " the painter has
introduced the figure of himself standing in the group of Florentine cit-
izens. It is this likeness which is here reproduced.

MASTERS IN ART

^antiro UottittlU

BORN 1447: DIED 1510
FLORENTINE SCHOOL

JULIA CARTWRIGHT «' P O R T F O L I O, " VOL.13

SANDRO BOTTICELLI, or, to use his original name, Alessandro di Mariano Fili-
pepi, was born at Florence in the year 1447. His father was a citizen in comfort-
able circumstances; and Vasari tells us that Sandro, the youngest of Mariano's four
sons, was educated with great care, and "instructed in all such things as children are
usually taught before they choose a calling." But the boy's strong will first showed
itself in a violent distaste to learning. He was constantly discontented and absolutely
refused to give his attention to reading, writing, and accounts, says Vasari; until at last
his father, despairing of ever turning him into a scholar, placed him in the shop of a
goldsmith named Botticello, a great friend of his and an excellent workman, who prom-
ised to teach the boy his trade.

Sandro was destined for higher things, and soon showed the artistic bent of his gen-
ius; but this early training in the goldsmith's shop was not thrown away. He took
from his first master not only the name by which he has become famous, but the pre-
cision of line and patient attention to detail which marked all his work in after-life.
From him too he learned that use of gold which he turned to such good account in
his painting, as we see in the foliage of his backgrounds, in his boy-angels' rippling hair,
and the embroidered tissue of his Virgin's robes. But he did not remain many years
with Botticello. At a time when Antonio Pollaiuolo and Andrea Verrocchio were gold-
smiths as well as painters, there was natur?lly a good deal of intercourse between the
men of both crafts. Before long Sandro was seized with so passionate a desire to em-
brace the profession of an artist that his father, knowing the force of the boy's inclina-
tions, placed him with the Carmelite monk, Fra Filippo Lippi, then one of the first mas-
ters in Florence. This time Sandro had found his vocation. He devoted himself ear-
nestly to his new studies, and soon attained a degree of perfection which no one had
expected from the wayward, eccentric boy." By the time of Fra Filippo's death Sandro,
although only twenty-two years of age, had already acquired the reputation of being the
best painter in Florence. ."'. .

The same year that Filippo died the young Lorenzo de' Medici succeeded to the gov-
ernment of Florence, and from the first showed Botticelli a generous and liberal patron-
age, which was never afterwards withdrawn. Through his friendship Sandro was now
introduced to the eminent scholars whom Lorenzo loved to collect around him. We
are inclined to wonder how the youth who would not learn to read and write fared
in this company. But at whatever time of his life Sandro acquired that knowledge of
classical learning which his works unfold, he possessed in a rare degree the feeling for

22 ^a^ttt 0 in ^tt

beauty that was sufficient in itself to form a close link with the scholars of the Re-
naissance. . . .

Besides the Madonnas, with which we are accustomed to" associate Botticelli's name,
he executed at this period other works on a larger scale. Commissions came to him
from all sides, and the fifteen years which elapsed between Fra Filippo's death and
Sandro's return from Rome mark a period of great productive energy in his life, during
which many of his finest works, both in painting and engraving, were executed.

Botticelli's love for his scholars, and for all devoted to art, is mentioned by more than
one writer. Filippino Lippi, in whom he saw the son of the master to whom he owed
his own training, was the best beloved of all his pupils, while this same sympathy fbl
rising artists drew him to one many years younger than himself, but already famous,
Michelangelo Buonarrotti. . . .

It is curious to learn from Vasari that Botticelli, who seems to us so intensely in
earnest, delighted in jesting, and indulged in wild practical jokes at the expense of his
scholars and friends which made the walls of the workshop ring with laughter. But for
all that a vein of deep melancholy runs through his works, and even when he most wished
to be gay, he is sad, as it were, in spite of himself. . . . He loved everything that was
' fair, the shape of the opening rose, the changing ripples on the waves, the grace of the
human form; and yet his imagination is ever beating against the walls of this life, asking
what lies without, and whither we are tending. This it was which led him to the
study of Dante, this which in later years made him lend a willing ear to Savonarola's
warnings. This element of sadness becomes more evident in his mythological paintings
than in his Madonnas, where its presence is more in harmony with the subject before
him. He had breathed new life and meaning into the old forms of mediaeval art, and
now he was called upon to illustrate those classic myths that were the delight of Renais-
sance scholars. The beauty of both worlds was equally clear to him, and Lorenzo, quick
at discerning the capabilities of the men around him, employed Botticelli to decorate his
palace with Greek myths, of which the most generally known is the ** Birth of Venus **
-now in the Uffizi. Besides allegorical subjects he was ordered by Lorenzo to paint sev-
eral altar-pieces, many of which are still to be seen in the churches and galleries of Flor-
ence. Probably most of these works were painted before his visit to Rome, but the only
one which bears any date is the fresco of St. Augustine in the church of Ognissanti,
painted in 1 480. Soon afterwards he was summoned to Rome, together with Ghirlan-
dajo and Perugino, by Pope Sixtus IV., to adorn his newly erected chapel in the
Vatican.

The wide reputation which Botticelli had by this time attained appears from his ap-
pointment as chief superintendent of the works. His share in the actual execution of
the frescos, however, was limited to three of the large subjects, and the earlier portraits
of the series of twenty-eight Popes, which are still to be seen on the upper part of the
wall. Of the twelve frescos in which scenes from the life of Moses on one wall and
from the life of Christ on the other are represented, the three which fell to Sandro's
share were " Moses in the Land of Midian," the "Temptation of Christ," and the
"Destruction of Korah." But while he was employed on these frescos of the Sistine
Chapel, Pope Sixtus IV. died, the works were interrupted, and Sandro returned to
Florence.

Before his visit to Rome he had made his first essay in the art of engraving, and be-
sides supplying designs for the illustrated edition of Dante published at Florence in 1482
by Baldini, had himself executed several of the plates. His devotion to the study of
the Divine Poet was a remarkable feature of his character, and the engravings show how
thoroughly the painter entered into the poet's thoughts. . . .

25 0 1 1 i c eUi 28

The last years of Lorenzo de' Medici's life witnessed a marked change in the thoughts
and feelings of the Florentines. In 1 490 the Dominican friar, Fra Girolamo Savona-
rola, came to Florence, and, by the eloquence of his preaching and the boldness of a
zeal which knew no respect of persons, commanded general attention. The chosen
friends of Lorenzo's circle, and most renowned scholars of his court, were among the
multitude who flocked to hear him, and of all classes in Florence none embraced the
new doctrines with greater enthusiasm than the artists. Sandro threw himself heart and
soul into the work of the great revival, and, in Vasari's words, became "a zealous
fiagnone.''^ [A name given to Savonarola's followers, signifying weeper, mourner, or
grumbler.]

A striking proof of his constancy to the memory of Savonarola, and his firm belief in
the ultimate accomplishment of the friar's prophecies, remain in his famous picture of
the ** Nativity," which he painted in 1500, and which plainly refutes Vasari's asser--
tion, that in this religious frenzy he gave up painting altogether. If^ after that, he
painted other pictures, we hear no more of them; soon, we know, he sank into prema-
ture old age, worn out by the ceaseless toil of hand and brain. We have Vasari's mel-
ancholy picture of the old man forced to go on crutches, unable to stand upright, and
depending for his bread on the charity of others. So he lingered on till the 17th of
May, I 5 1 o, when death at length brought him his well-earned rest, and he was buried
in his father's tomb in the old parish church of Ognissanti.

Such, so far as our uncertain knowledge can show, were the chief features of Sandro
Botticelli's life. In the breadth and richness of his culture, in the varied character of
the subjects which he chose, in the greatness of his aims, and the mystical bent of his
genius, he is in an especial manner the representative in art of the age of the Medici, and
embodies for us the varied elements and conflicting ideas of that memorable period.

Cije 3lrt of Botticelli

JOHN RUSKIN ««FORS CLAVIGERA"

BOTTICELLI was the only painter of Italy who understood the thoughts of
heathens and Christians equally, and could in a measure paint both Aphrodite and
the Madonna. So that he is, on the whole, the most universal of painters; and take him
all in all, the greatest Florentine workman.

)

GEORGE B. ROSE "RENAISSANCE MASTERS"

IT is very difficult to write impartially of Botticelli. Those whom he pleases at all
are apt to love him to excess and see in his works all possible and impossible per-
fections; while those who are not touched by his peculiar charm are disposed to look
upon him as merely quaint and curious. The truth lies between these two extremes.
He is not a great master like Raphael and Leonardo, but he has a singular and personal
fascination that marks him as one apart, and gives him a niche in the temple of fame
that is all his own. His works are like certain music that strikes a responsive chord only
in particular hearts, but a chord that vibrates with an intense and special harmony. He
who has caught its singular charm has a joy of his own forever, but he must not blame
his neighbor upon whose ear it jars. . . .

No artist has had greater vicissitudes of fame. In his prime he was the favorite

24 a^a^teriertn^rt

painter of the brilliant court of Lorenzo the Magnificent, but with the death of his illus-
trious patron he sank under the influence of Savonarola, so inimical to his genius, and
in his old age he was eclipsed by the glories of Leonardo, Michelangelo, and Raphael.
He was almost forgotten when at length he passed away in poverty and neglect, and
he seemed consigned to hopeless oblivion when Mr. Ruskin and the English pre-
Raphaelites proclaimed his greatness and made him the object of a cult that is extend-
ing every day. His pictures, little prized forty years ago, are now sought for with infi-
nite eagerness, and are numbered among the most precious gems of the richest galleries.

One reason of the high regard in which he is now held is the prevailing practice of
studying art historically. No artist represents so perfectly a particular moment in his-
tory. He stands at the exact point where the mediaeval is aspiring toward the classical
with infinite but ineffectual desire. In him the Middle Age stretches out its arms with
unutterable yearning toward the goddess of Grecian beauty rising again resplendent
fi-om the sea, but she still eludes its grasp. He belongs to the time when men kept
lamps burning before the bust of Plato as before the Virgin's shrine, yet failed to grasp
the essence of Hellenic culture. In a little while the full day is to burst upon them,
revealing shapes of classic purity that are to be preserved by Raphael's and by Titian's
brush. But Botticelli's contemporaries are still in the early dawn, lit up by a dim and
misty light through which the radiant forms of the Grecian goddesses look thin and
pale. . . .

Though one of the worst anatomists, he is one of the greatest draughtsmen of the
Renaissance. This may seem a contradiction in terms when applied to a painter who
dealt so largely with the nude, yet it is true. The anatomy of his figures is usually
wretched.

Yet he is one of the greatest masters of the single line that ever lived. He treats the
human body simply as a pattern for a living arabesque. As a lineal decorator he stands
supreme. In point of color he is perhaps the best of the Florentine school, sometimes
bright, usually harmonious, nearly always charming. Yet he subordinates coloring so
thoroughly to the line that his pictures have been described as tinted drawings. The
tendency of color is usually toward the obliteration of the outline. With him it serves
only to accentuate it. In these days when it is the fashion to confound the distinction
between the arts, his pictures may be described as symphonies of lines. And all of them
are lines of grace. Such harmonious curves it would be difficult to find elsewhere. Fre-
quently they are false to nature, an outrage upon the human anatomy, and to appreci-
ate them we must forget how men are made, and look upon them merely as parts of an
arabesque design. We shall then perceive that as lineal decorations they are endowed
with a wonderful beauty.

Another merit which he possesses in an extraordinary degree is the presentation of
movement. His figures are all in motion or ready to move. It is not a strong move-
ment dependent upon muscular power, it is the light, quick, graceful movement whose
seat is in the nerves. His walking figures nearly all rest lightly on the ball of the foot
in a position that they could not retain for a moment. They are like instantaneous pho-
tographs taken when motion is at the highest point of its curve. And this motion is
always gracefiil. However bad the figures may be in point of anatomy, they always
move with an exquisite rhythm. Indeed, the grace of their movements is enhanced by
their very imperfection. When we see motion in a body of perfect outline, its grace is
only what we expect, and our attention is attracted most by the plastic beauty of the
form itself. But when we see these thin, ill-drawn bodies moving so gracefully, it strikes
us with all the force of a surprise, and there being no plastic loveliness to charm the eye,
we surrender ourselves entirely to the sense of grace. . . .

25otticent 26

He is the painter of the breeze. In his pictures it blows continually, sometimes
quaintly represented as issuing from the wind-god's mouth, sometimes as only revealed
in the flutter of garments — a flutter in which is expressed all the buoyant joy and vital-
ity of the zephyr. No one has ever depicted so faithfully or so daintily the effects of
the breeze playing with a woman's vestments.

And what vestments they are! Sometimes heavy, sometimes light, sometimes mere
gauzy draperies that only serve to enhance the rhythmic grace of the moving limbs, they
fall or flutter in delightful folds, and are usually adorned with those delicious embroider-
ies which were only produced in their perfection during the Middle Ages, when time
was a matter of no importance, and when a handmaid would spend years in the beauti-
fying of a garment, as a monk would pass his life in the illumination of a missal. Em-
broideries so fanciful or so charming have never been depicted by the brush. And how-
ever classical the subject, it is clothed in these quaintly beautiful draperies of the
Middle Ages undreamed of by the Greeks.

He was the painter of small groups and of single figures. In a large field he lost him-
self. His great frescos in the Sistine Chapel are charming in many of their details, but
the composition is confusing — a confusion heightened by the insertion into one picture
of successive episodes of the same story, so that it is only with great labor that we can
make out the meaning; and they can scarcely be said to have a general plan. He is
like many writers who can tell a short story well, but cannot handle the complicated
threads of a long romance. Within his narrow limitations his composition is pleas-
ing, but when he attempts it on too large a scale we see that he has overpassed his
powers. . . .

He is one of the most poetical of all painters, with a quaint, sweet poetry that we
love sometimes beyond its merits, like some of the old lyrics of Elizabethan and Stuart
days, so naive, so touching, so fijll of delicate fancies and pleasing affectations, and
possessed of a haunting rhythm and a delightful freshness that can never be forgotten.
They, too, sing of Grecian gods with the same spirit of medieval phantasy, striving
with the same unsuccess to grasp the spirit of Ovid or Theocritus. The painters of his
day were mostly realists, but Botticelli was a poet and a dreamer, living apart in a
fairyland of his own creation.

JOHN ADDINGTON SYMONDS "RENAISSANCE IN ITALY"

SANDRO BOTTICELLI is one of those artists much respected in their own day,
who suffered eclipse from the superior splendor of immediate successors, and to
whom, through sympathy stimulated by prolonged study of the fifteenth century, we
have of late paid tardy and somewhat exaggerated honors. His fellow-workers seem to
have admired him as an able draughtsman gifted with a rare if whimsical imagination;
but no one recognized in him a leader of his age. For us he has an almost unique value
as representing the interminglement of antique and modem fancy at a moment of tran-
sition, as embodying in some of his pictures the subtlest thought and feeling of men for
whom the classic myths were beginning to live once more, while new guesses were tim-
idly hazarded in the sphere of orthodoxy.

A friend writing to me from Italy speaks thus of Botticelli, and of the painters asso-
ciated with him: ** When I ask myself what it is I find fascinating in him — for in-
stance, which of his pictures, or what element in them — I am forced to admit that it
is the touch of paganism in him, the fairy-story element, the echo of a beautiful lapsed
mythology which he has found the means of transmitting.^^ The words I have printed
in italics seem to me very true. At the same time we must bear in mind that the scien-
tific investigation of nature had not in the fifteenth century begun to stand between the

26 flr^a^terjefin^Lrt

sympathetic intellect and the outer world. There was still the possibility of that "lapsed
mythology," the dream of poets and the delight of artists, seeming positively the best
form of expression for sentiments aroused by nature.

Self-confident sensuality had not as yet encouraged painters to substitute a florid rhet-
oric for the travail of their brain; nor was enough known about antiquity to make the
servile imitation of Greek or Roman fi-agments possible. Yet scholarship had already
introduced a novel element into the culture of the nation. It was no doubt with a kind
of wonder that the artists heard of Fauns and Sylvans, and the birth of Aphrodite from
the waves. Such fables took deep hold upon their fancy, stirring them to strange and
delicate creations, the offspring of their own thought, and no mere copies of marbles
seen in statue-galleries. The very imperfection of these pictures lends a value to them
in the eyes of the student, by helping him to comprehend exactly how the revelations
of the humanists affected the artistic sense of Italy.

BERNHARD BERENSON "FLORENTINE PAINTERS OF THE RENAISSANCE"

NEVER pretty, scarcely ever charming or even attractive; rarely correct in draw-
ing, and seldom satisfactory in color; in types ill-favored; in feeling acutely in-
tense and even dolorous — what is it then that makes Sandro Botticelli so irresistible that
nowadays we may have no alternative but to worship or abhor him? The secret is this:
that in European painting there has never again been an artist so indifferent to repre-
sentation and so intent upon presentation. Educated in a period of triumphant natural-
ism, he plunged at first into mere representation with almost self-obliterating earnestness;
the pupil of Fra Filippo, he was trained to a love of spiritual genre; himself gifted with
strong instincts for the significant, he was able to create such a type of the thinker as in
his fresco of St. Augustine; yet in his best years he left everything, even spiritual sig-
nificance, behind him, and abandoned himself to the presentation of those qualities alone
which in a picture are directly life-communicating and life-enhancing. Those of us
who care for nothing in the work of art but what it represents are either powerfully
attracted or repelled by his unhackneyed types and quivering feeling; but if we are such
as have an imagination of touch and of movement that it is easy to stimulate, we feel a
pleasure in Botticelli that few, if any, other artists can give us. Long after we have
exhausted both the intensest sympathies and the most violent antipathies with which the
representative elements in his pictures may have inspired us, we are only on the verge
of fiilly appreciating his real genius. This in its happiest moments is an unparalleled
power of perfectly combining values of touch with values of movement.

Look, for instance, at Botticelli's "Venus Rising from the Sea." Throughout, the
tactile imagination is roused to a keen activity, by itself almost as life-heightening as
music. But the power of music is even surpassed where, as in the goddess's mane- like
tresses of hair fluttering to the wind, not in disorderly rout but in masses yielding only
after resistance, the movement is directly life-communicating. The entire picture pre-
sents us with the quintessence of all that is pleasurable to our imagination of touch and
of movement. How we revel in the force and freshness of the wind, in the life of the
wave! And such an appeal he always makes. His subject may be fanciful, as in the
"Realm of Venus" (the ** Spring"); religious, as in the Sistine Chapel frescos or
in the ** Coronation of the Virgin;" political, as in the recently discovered " Pallas
Taming a Centaur;" or even crudely allegorical, as in the Louvre frescos, — no matter
how unpropitious, how abstract the idea, the vivid appeal to our tactile sense, the life-
communicating movement is always there. Indeed, at times it seems that the less artis-
tic the theme the more artistic the fulfilment, the painter being impelled to give the

25 0 1 1 i c eUi 27

utmost values of touch and movement to just those figures which are liable to be read
off as mere empty symbols. Thus, on the figure representing political disorder — the
Centaur — in the "Pallas," Botticelli has lavished his most intimate gifts. He con-
structs the torso and flanks in such a vv^ay that every hne, every indentation, every boss
appeals so vividly to the sense of touch that our fingers feel as if they had everywhere
been in contact with his body, while his face gives to a still heightened degree this con-
vincing sense of reality, every line functioning perfectly for the osseous structure of brow,
nose, and cheeks. As to the hair — imagine shapes having the supreme life of line you
may see in the contours of licking flames, and yet possessed of all the plasticity of some-
thing which caresses the hand that models it to its own desire!

In fact, the mere subject, and even representation in general, was so indifferent to
Botticelli, that he appears almost as if haunted by the idea of communicating the unem-
bodied values of touch and movement. Now there is a way of rendering even tactile
values with almost no body, and that is by translating them as faithfully as may be into
values of movement. For instance: we want to render the roimdness of a wrist without
the slightest touch of either light or shade; we simply give the movement of the wrist's
outline and the movement of the drapery as it falls over it, and the roundness is com-
municated to us almost entirely in terms of movement. But let us go one step further.
Take this line that renders the roundness of the wrist, or a more obvious example, the
lines that render the movements of the tossing hair, the fluttering draperies, and the
dancing waves in the ** Birth of Venus" — take these lines alone with all their power
of stimulating our imagination of movement, and what do we have? Pure values of
movement abstracted, unconnected with any representation whatever. This kind of
line, then, being the quintessence of movement, has, like the essential elements in all
the arts, a power of stimulating our imagination and of directly communicating life.
Well! imagine an art made up entirely of these quintessences of movement-values, and
you will have something that holds the same relation to representation that music holds
to speech — and this art exists, and is called lineal decoration. In this art of arts Sandro
Botticelli may have had rivals in Japan and elsewhere in the East, but in Europe never.
To its demands he was ready to sacrifice everything that habits acquired under Filippo
and Pollaiuolo, — and his employers! — would permit. The representative element was
for him mere libretto: he was happiest when his subject lent itself to translation into
what may be called a lineal symphony. And to this symphony everything was made
to yield; tactile values were translated into values of movement, and, for the same rea-
son,— to prevent the drawing of the eye inward, to permit it to devote itself to the
rhythm of the line, — the backgrounds were either entirely suppressed or kept as simple
as possible. Color also, with almost a contempt for its representative fiinction, Botti-
celli entirely subordinated to his lineal scheme, compelling it to draw attention to the
line, rather than, as is usual," away from it.

This is the explanation of the value put upon Botticelli's masterpieces. . . . The
painter of the ** Venus Rising from the Sea," of the " Spring," or of the Villa Lemmi
frescos is the greatest artist of lineal design that Europe has ever had.

WALTER PATER "STUDIES IN THE HISTORY OF THE R E N A I S S A N C E **

IN Leonardo's treatise on painting only one contemporary is mentioned by name —
Sandro Botticelli. This pre-eminence may be due to chance only, but to some will
rather appear a result of deliberate judgment; for people have begun to find out the
charm of Botticelli's work, and his name, little known in the last century, is quietly be-
coming important. In the middle of the fifteenth century he had already anticipated

28 a^ajsfter^in^rt

much of that meditative subtlety which is sometimes supposed peculiar to the great im-
aginative w^orkmen of its close. Leaving the simple religion which had occupied the
followers of Giotto for a century, and the simple naturalism which had grown out of
it, a thing of birds and flowers only, he sought inspiration in what to him were works
of the modem world, the writings of Dante and Boccaccio, and in new readings of his
own of classical stories; or if he painted religious subjects, painted them with an under-
current of original sentiment which touches you as the real matter of the picture through
the veil of its ostensible subject. . . .

Botticelli lived in a generation of naturalists, and he might have been a mere natural-
ist among them. There are traces enough in his work of that alert sense of outward
things which, in the pictures of that period, fills the lawns with delicate living creatures,
and the hill-sides with pools of water, and the pools of water with flowering reeds. But
this was not enough for him; he is a visionary painter, and in his visionariness he re-
sembles Dante. To him, as to Dante, the scene, the color, the outward image or ges-
ture, comes with all its incisive and importunate reality; but awakes in him, moreover,
by some subde structure of his own, a mood which it awakes in no one else, of which
it is the double or repetition, and which it clothes, that all may share it, with sensuous
circumstances. . . .

His interest is neither in the untempered goodness of Angelico's samts, nor the un-
tempered evil of Orcagna's "Inferno;" but with men and women, in their mixed and
imcertain condition, always attractive, clothed sometimes by passion with a character of
loveliness and energy, but saddened perpetually by the shadow upon them of the great
things from which they shrink. His morality is all sympathy; and it is this sympathy,
conveying into his work somewhat more than it is usual of the true complexion of hu-
manity, which makes him, visionary as he is, so forcible a realist.

It is this which gives to his Madonnas their unique expression and charm. He has
worked out in them a distinct and peculiar type, definite enough in his own mind, for
he has painted it over and over again, sometimes one might think almost mechanically,
as a pastime during that dark period when his thoughts were so heavy upon him.
Hardly any collection of note is without one of these circular pictures, into which the
attendant angels depress their heads so naively. Perhaps you have sometimes wondered
why those peevish-looking Madonnas, conformed to no acknowledged or obvious type
of beauty, attract you more and more, and often come back to you when the Sistine
Madonna and the virgins of Fra Angelico are forgotten. At first, contrasting them with
those, you may have thought that there was even something in them mean or abject,
for the abstract lines of the face have little nobleness, and the color is wan. For with
Botticelli she too, though she holds in her hands the ** Desire of all nations," is one of
those who are neither for God nor for his enemies; and her choice is on her face. The
white light on it is cast up hard and cheerless from below, as when snow lies upon the
ground, and the children look up with surprise at the strange whiteness of the ceiling.
Her trouble is in the very caress of the mysterious child, whose gaze is always far from
her, and who has already that sweet look of devotion which men have never been able
altogether to love, and which still makes the born saint an object almost of suspicion to
his earthly brethren. . . ,

There is a certain number of artists who have a distinct faculty of their own by
which they convey to us a peculiar quality of pleasure which we cannot get elsewhere,
and these have their place in general culture, and have to be interpreted to it by
those who have felt their charm strongly, and are often the objects of a special diligence
and a consideration wholly aiFectionate, just because there is not about them the stress
of a great nam.e and authority. Of this select number Botticelli is one; he has the

2E>otticeni 29

freshness, the uncertain and diffident promise which belongs to the earlier Renaissance
itself, and makes it perhaps the most interesting period in the history of the mind; in
studying his work one begins to understand to how great a place in human culture the
art of Italy had been called.

C|)e jFlorenttne ^cf)ool of ^atntms

1213 TO 1686
C. BAYET "PRECIS d'hISTOIRE DE l'aRT"

THE true Italian Renaissance does not clearly begin until the middle of the thir-
teenth century, but from this time on the development was uninterrupted down to
the sixteenth century. Throughout the northern and central parts of Italy individual
republics had sprung into being, — republics which by their commerce and industry
became prosperous and rich, and in which political life was especially ardent. The
accumulation of wealth by these enlightened communities made for artistic progress; and
in them, despite political revolution, the arts developed without interruption.

It was with Giotto (1266—1337) that painting in Florence definitely took on a new
aspect. Doubtless more than one of his Italian precursors, among them his master, Cima-
bue, had given proof of originality, but their influence had not been great enough to
bring about the formation of a lasting school. Giotto, however, while preserving the
religious inspiration of the past, expressed this inspiration in new and more natural forms.
His figures have the charm and grace of life; and in attitude, gesture and type, they be-
long to the world and time in which he lived. Most of the illustrious artists of the four-
teenth century in Central Italy flocked to Florence to be near him, and that city became
the centre of artistic inspiration. Indeed, so great was his influence, that for many years
the work of the Florentine school may be justly reproached with a monotonous uni-
formity.

During the fifteenth century Florence still maintained her artistic supremacy, but her
art gradually changed its character. Faithfiil still to the observation of nature, it inter-
preted nature with more largeness and freedom, and at the same time became more studious
of the antique. The traditions of the school of Giotto were departed from. Paolo Ucello
(1397— 1475) introduced the study of perspective, with which the former painters had
not concerned themselves; Fra Filippo Lippi (1406— 1469), high in the favor in the
service of the Medici, treated religious subjects with a liberty of handling and a pro-
nounced tendency toward realism. The most noteworthy master of this half of the
fifteenth century is Masaccio (i 401— 1428), who united unusual force to a wide
knowledge of composition. His life was short, but he produced works in which a frill
maturity of talent is apparent, such, for example, as his frescos in the Church of the
Carmine at Florence, which became models for the younger artists of the day.

At the same time there existed in Florence a school devoted to the expression of re-
ligious and mystic ideals, and which was linked to that of preceding ages. During the
first half of the fifteenth century this school produced a great master in the Dominican
monk, Fra Angelico (1387— 1455). Having entered a convent in early youth Fra
Angelico preserved throughout his life a naive and profound faith, to which his painting
gave expression. He was, however, an exception at Florence, and there followed a
period of transition in Florentine work which filled the greater part of the second half
of the fifteenth century. The newly arisen passion for antiquity was united and assimi-

30 a^a^teneiin^lrt

kted with the naturalistic tendency. The architects Giuliano and Antonio da San Gallo
were absorbed in the study of Roman monuments; the Pollaiuoli painted for the Medici
pictures representing such subjects as the "Exploits of Hercules; " Botticelli continually
borrowed subjects from pagan mythology, even though he chiefly devoted himself to the
painting of Christian Madonnas. So numerous indeed are the eminent painters of merit
of this type who combined the study of nature with the study of the antique, that it is
difficult to single out one of them as an example. Domenico Ghirlandajo ( 1 449—1 494)
is perhaps one of the most original. His compositions are well studied and the drawing
is firm and precise. At about the same timeBenozzo Gozzoli (1420— 1498) decorated
the walls of the Campo Santo at Pisa with paintings of great picturesque charm, while
Luca Signorelli (i 441— 1523) in his frescos in the cathedral of Orvieto was devoting
himself to the expression of force, and his studies in anatomy and from the nude
sometimes suggest Michelangelo.

Towards the end of the fifteenth century the prevailing spirit of the Florentine
Renaissance found a powerful adversary in the monk Girolamo Savonarola, who con-
demned all study of pagan antiquity, and, with intent to purify and sanctify art,
attempted to prohibit the study of the nude. His fervor and the nobihty of his ideas
gained over even the ardsts themselves, and many of them became temporarily his
partisans. But the straightened mode of life which Savonarola attempted to impose
on the Florentines soon became too irksome for them to bear; his influence declined,
and after his death in 1498, art returned to the study of the antique with revived
enthusiasm. . . .

It was towards the end of the fifteenth and the beginning of the sixteenth century that
Florence produced her greatest masters, — Leonardo da Vinci (1452— 1519) and Michel-
angelo Buonarroti (1475— 1564); for although both of these painters passed the greater
part of their lives away from Florence, they were both Florentines by birth.

Almost all the greatest works of Leonardo have, by a strange succession of fatalities,
perished; but those which still remain suffice to prove that perhaps no other ardst has
ever possessed in so high a degree the gift of harmoniously blending grace with expres-
siveness. His influence upon his contemporaries was so great that there grew up about
him a school of his own which is called by his name.

The contrast between Leonardo and Michelangelo is striking. The salient charac-
teristics of the one are harmony and repose, while those of the other are vigor, almost
to violence, in both conception and expression. If Michelangelo may be deservedly re-
proached with a tendency towards excess of action, contorted attitude and exaggera-
tion of type, it may be answered that his methods were due to an attempt at the sincere
expression of fervent inspiration, while in the hands of his imitators, who lacked the
genius of the master, they became theatrical in effect.

In comparison with these two great Florentines and their Umbrian contemporary,
Raphael, the minor artists of the time received less attention than would have been
accorded them at any other period. Chief among them should be named Fra Barto-
lommeo ( 1475— i 517), who followed closely in the steps of Leonardo and Raphael; and
Andrea del Sarto (i486— 1530), a master of high rank as a colorist, and whose work
possesses much individuality, grace, and charm.

With the glory of Leonardo and Michelangelo the art of Florence reached its climax,
and thereafter speedily declined. Their pupils, and the followers of Raphael, were, for
the most part, content with mere slavish imitation unredeemed by any commanding
genius; and Florence soon ceased to occupy the eminent position in art which she had
held throughout the preceding century.

25otticeIU 81

MEMBERS OF THE FLORENTINE SCHOOL.

ANDREA TAFI, i2i3?-94 (Vasari) — Coppo di Marcovaldo, flourished 1261-75
— Gaddo Gaddi, 1239— 13 12 (according to Vasari) — Giovanni Gualtieri (Cimabue),
1240?— 1302 — Giotto di Bondone, 1266-1337 — Taddeo Gaddi, 1300? to after 1366 —
Puccio Capenna, first half of 14th century — Buonamico Christofani (Buftalmacco), first half
of 14th century — Giovanni Jacobi da Milano, flourished 1 365 — Giottino (real name doubt-
ful), first half of 14th century — Jacopo Landini, about 1 3 10 to about 1 390 — Agnolo Gaddi
(son of Taddeo Gaddi), 14th century — Andrea Orcagna, 1308-68, and his brothers
Leonardo (flourished 1332—47) and Jacopo — Francesco Traini, chief of Orcagna' s pupils,
flourished 1341-45 — Antonio Longhi (Veneziano), flourished 1370—87 — Gherardo Star-
nina, 1354, died after 1406 — Giuliano d'Arrigo (Pesello), 1367 to after 1427 — Tommaso
di Fini (Masolino), born 1383 — Lorenzo Monaco, flourished 1404-13 — Fra Angelico
(Guido di Vicchio), 1387-1455 — Andrea del Castagno, 1390—1457 — Paolo Uccello,
about 1397—1475 — Tommaso di S. Giovanni (Masaccio), 1401—28 — Fra Filippo Lippi,
1406—69 — Francesco di Pesello (Pesellino), 1422-57 — .Alesso Baldovinetti, 1422-99 —
Domenico Veneziano, flourished 1438, died 1461 — Benozzo Gozzoli, 1420-98 — Andea
Verrocchio, 1435 to about 1488 — Antonio Pollaiuolo, 1429-98 — Cosimo Rosselli, 1439—
1507 — Luca Signorelli (Da Cortona), 1 441-1523; his principal pupil wasGirolamo Genga,
1476-1551 — Piero Pollaiuolo, 1443, died before 1496 — Sandro Botticelli, 1447-1510 —
Domenico Bigordi (Ghirlandajo), 1449-94; his works were closely imitated by his pupil
and brother-in-law Bastiano Mainardi — Leonardo da Vinci, 1452-151 9 — Lorenzo di Credi,
J459— 1537; his chief scholar was Sogliani, 1492—1544 — Filippino Lippi, 1460—1504 —
Piero di Cosimo, 1462—1521 — Raft'aellino del Garbo, 1466-1524 — Francesco Granacci,
1469—1543 — Giuliano Bugiardini, 1471-1554 — Mariotto Albertinelli, 1474-1515 — Fra
Bartolommeo della Porta, 1475-1517 — Michelangelo Buonarroti, 1475-1564 — Francesco
di Christofano (Francia Bigio), 1482-1525 — Ridolfo Ghirlandajo, 1483-1560 — Andrea
del Sarto, 1486-1530; his scholar Puligo closely imitated his style — Jacopo Carucci da
Pontormo, 1494—1557 — Giulio Clovio of Dalmatia, miniaturist, 1498-1578 — Angelo
Bronzino, 1502-72 — Marcello Venusti, died about 1580 — Daniele da Volterra, 1509-66
— Francesco de' Rossi (called Del Salviati), 1510-63 — Giorgio Vasari, art historian, 1512
—74 — Alessandro Allori, 1535-1607 — Orazio Lomi de' Gentileschi, 1562-1646 — Chris-
toforo AUori, 1577-1621 — Carlo Dolci, 1616-86.

CijE a^otks Of BotticeEi

DESCRIPTIONS OF THE PLATES
«« VIRGIN AND CHILD WITH ST. JOHN" LOUVRE: PARIS

SIR CHARLES EASTLAKE has w^ritten: ** We recognize in this group not only
the refined sentiment which is characteristic of Botticelli's work, but also — what is
rarer — a keen sense of physical beauty. The Virgin's features are delicate in outline,
and the transparent veil of white muslin which covers, without concealing, her golden
hair, is very tastefully arranged, while the powdered aureole on her head forms an
agreeable substitute for the usually solid nimbus. Note the careful modelling of the left
hand resting on the Child, whose action is graceful and true to nature. One of the most
delightful features of the composition is the hedgerow which forms the background of
the group, and in which pink and pale roses alternate with sprays of delicate green
leaves, set against the sky."

32 <SX^ a^ttt ^ in '^tt

"PORTRAIT OF PIERO De' MEDICI THE YOUNGER" UFFIZI GALLERY: FLORENCE

PIERO DE' MEDICI was the eldest son and the successor of Lorenzo the Mag-
nificent. His rule was of short duration, for having, through ambition and temerity,
involved the republic in a war with France, which led to the occupation of Florence by
the French army, he was at the end of two years deposed by the Florentines, and ex-
pelled from the city.

In this portrait (formerly thought to be that of the scholar Pico della Mirandola),
Botticelli has represented Piero as holding the medal of his great-grandfather, Cosimo
de' Medici, "thus in a manner placing himself," as M. Muntz has said, "under the
protection of his illustrious ancestor. ' '

"SPRING" academy: FLORENCE

THE subject of this famous picture, painted originally for the Medici villa at Cas-
tello, is supposed to have been suggested by a passage from Lucretius (De Rerum
Natura, lib. V.).

Technically delicate in drawing, soft and grey in color, it is one of the most subtle
and fascinating of Botticelli's works. In describing it Julia Cartwright says: ** Venus
the queen, tall of stature and majestic in bearing, stands in a shady grove, while Spring
enters garlanded with flowers, and the Graces, robed in gauzy white draperies, which
reveal each motion of their limbs, dance hand in hand on the grass. A beautiftil youth
wearing a winged helmet stands beside them, plucking fruit from the boughs, and a
zephyr sports with a nymph who drops roses from her mouth.

" This time Botticelli has put aside moumfol forebodings and speculative musings,
and has brought nothing but pleasant imagery to adorn his subject. The joy of the
spring has for once dispelled care and thought, the world renews her life, and with her
we grow young again."

"CORONATION OF THE VIRGIN" UFFIZI GALLERY: FLORENCE

IN this picture the Madonna, clad in a dark-green gold-embroidered robe, and hold-
ing the Child in her arms, is surrounded by angels, two of whom hold the crown
over her head, while two others offer her the book in which she writes the hymn " Mag-
nificat."

John Addington Symonds has said: "It is not perhaps a mere fancy to imagine that
the corolla of an open rose suggested to Botticelli's mind the composition of his best-
known picture, the circular * Coronation of the Virgin ' in the Uffizi. This master-
piece combines all Botticelli's best qualities. For rare distinction of beauty in the faces
it is unique, while the mystic calm and resignation, so misplaced in his Aphrodites, find
a meaning here."

"BIRTH OF VENUS" UFFIZI GALLERY: FLORENCE

*' "IT /"HAT is strangest," writes Walter Pater, "is that Botticelli carries the senti-
V V ment [of sadness] into classical subjects, its most complete expression being a
picture in the Uffizi, of Venus rising from the sea, in which the grotesque emblems of
the Middle Age, and a landscape flill of its peculiar feeling, and even its strange draper-
ies powdered all over in the Gothic manner with a quaint conceit of daisies, frame a
figure that reminds you of the faultless nude studies of Ingres. At first, perhaps, you
are attracted only by a quaintness of design, which seems to recall all at once whatever
you have read of Florence in the fifteenth century; afterwards you may think that this
quaintness must be incongruous with the subject, and that the color is cadaverous, or at

25otticeni 88

least cold. And yet the more you come to understand what imaginative coloring really
is, that all color is no mere delightful quality of natural things, but a spirit upon them
by which they become expressive to the spirit, the better you will like this peculiar qual-
ity of color; and you will find that quaint design of Botticelli's a more direct inlet into
the Greek temper than the works of the Greeks themselves even of the finest period.
Of the Greeks as they really were, of their differences from ourselves, of the aspects of
their outward life, we know far more than Botticelli, or his most learned contempora-
ries; but for us, long familiarity has taken off the edge of the lesson, and we are hardly
conscious of what we owe to the Hellenic spirit. But in pictures like this of Botticelli's
you have a record of the first impression made by it on minds turned back towards it
in almost painful aspiration from a world in which it had been ignored so long; and in
the passion, the energy, the industry of realization, with which Botticelli carries out his
intention, is the exact measure of the legitimate influence over the human mind of the
imaginative system of which this is the central myth. The light is, indeed, cold — mere
sunless dawn; but a later painter would have cloyed you with sunshine; and you can
see the better for that quietness in the morning air each long promontory as it slopes
down to the water's edge. Men go forth to their labors until the evening; but she is
awake before them, and you might think that the sorrow in her face was at the thought
of the whole long day of love yet to come. An emblematical figure of the wind blows
hard across the grey water, moving forward the dainty-lipped shell on which she sails,
the sea * showing his teeth ' as it moves in thin lines of foam, and sucking in one by
one the falling roses, each severe in outline, plucked off short at the stalk, but embrowned
a little, as Botticelli's flowers always are. Botticelli meant all that imagery to be alto-
gether pleasurable; and it was partly an incompleteness of resources, inseparable from
the art of that time, that subdued and chilled it; but his predilection for minor tones
counts also; and what is unmistakable is the sadness with which he has conceived the
goddess of pleasure as the depositary of a great power over the lives of men."

•'PALLAS AND A CENTAUR" PITTI PALACE: FLORENCE

IN 1895 this picture was found by the English artist, Mr. William Spence, in an
obscure corner of one of the royal apartments of the Pitti Palace, where for many
years it had hung unnoticed and forgotten. It is believed to commemorate the return
of Lorenzo de' Medici to Florence in 1 480, after his pacificatory visit to Naples, where
by his skilful diplomacy peace was brought about between his native city and her ene-
mies,— Pope Sixtus IV. and the King of Naples, — whose alliance had threatened her
welfare. In Pallas, the goddess of wisdom, holding captive a centaur, symbol of that
lower nature inimical to peace and wisdom, is indicated the triumph of mind over mat-
ter, of Lorenzo over his enemies, while in the distance is seen the ship of glad tidings
which brought Lorenzo home.

A writer in the Italian Gazette describes the picture as ** a harmony of green and
gold — gold of the richest tone from the bright bay of the centaur's hide, through all
gradations of Pallas' s long auburn locks waving below her waist, her light tan buskins,
and the ivory tones of the diaphanous white garment where it reveals the limbs beneath
— firom the rich olive of Pallas 's mantle to the pale greeil of sea and shore, and the grey
of the goddess's eyes. The transparent robe is sown with a design composed of three,
or sometimes four interlaced gem-set rings, the device of Lorenzo the Magnificent. A
sapphire set in four conventional green leaves forms a blossom-like termination to a spi-
ral spray of olive upon either breast, the sprays nearly meeting in the centre being
clasped together by Lorenzo's ring itself — a very pledge of peace. Head, arms, and
waist are wreathed vdth the beautifully decorated olive branches, in fantastic luxuriant
grace. ' *

34 ^a^ttt ^ in "^tt

"MADONNA ENTHRONED" BERLIN GALLERY

**T3 OTTICELLI preferred the circular form for his compositions," writes Sidney
IJ Colvin, ** and a large number of devotional pieces in this form, by his own hand
and those of his scholars, are scattered through the niuseums and private collections of
Europe, and are among the most poetical examples of religious art that Italy has left us."
In the one here reproduced, the Virgin and Child are surrounded by rose-crowned
angels bearing in their hands lighted candles entwined with flowers. It is of this picture
that Julius Meyer writes: " Gravely reverential the angels stand around the Madonna,
their wings still half lifted, as if they had just swept through the air; and in the light,
shimmering garments, moved by the faintest breath of wind, we seem still to hear the
rustle, as it were, of their flight. ' '

"ADORATION OF THE MAGI" UFFIZI GALLERY: FLORENCE

THIS picture, intended especially to honor the deceased Cosimo de' Medici, is one
of Botticelli's finest works.

Under a ruined pent-house are seen the Mother and Child, their figures illumined by
a golden light. In the King who kneels before the Virgin and kisses the foot of the
Infant Jesus may be recognized the portrait of Lorenzo de' Medici's grandfather,
Cosimo, while in the faces of the other Magi and among those of the Florentine citi-
zens in the foreground of the picture, Botticelli has represented various members of the
Medici family. At one side, with the head turned almost fiilly toward the spectator,
may be seen the figure of the painter himself.

Vasari says of this picture: **The composition, the design, and the coloring are so
beautifiil that every artist who examines it is astonished, and at the time, it obtained so
great a name in Florence and other places for the master, that Pope Sixtus IV., having
erected the chapel built by him in his palace at Rome, and desiring to have it adorned
with paintings, commanded that Sandro Botticelli should be appointed superintendent
of the work."

"PORTRAIT OF A WOMAN" STADEL INSTITUTE: FRANKFORT

THIS is one of the few, and it is perhaps the most beautifiil of Botticelli's portraits
of women. Although sometimes spoken of as a likeness of Lucrezia Tomabuoni,
it is more probably an ideal head, and is now generally so considered.

Ulmann gives the following descripdon: **The luxuriant fair hair adorned with
strings of pearls and entwined with rose-colored ribbons is arranged in gracefiil knots.
On the crovni of the head is a spray of heron-quills held in place by a ruby in the form
of a flower. A large cameo, on which is represented the punishment of Marsyas, is
worn around the long, slender throat. Pale in color, the profile stands out shai;p and
distinct in its outline against the dark background.

**The features have nothing about them of the character of a portrait, but represent
rather Botticelli's ideal of womanly beauty; the same type which prevails in his god-
desses, nymphs, and graces: a high, arched brow; a straight nose with delicate nostrils;
a mouth with lips slightly parted and with an expression of sadness about it; large,
light eyes shadowed by heavy lids beneath horizontal and delicately pencilled eye-brows.
If this picture be compared with the heads of the Graces in the * Spring, ' with the
Goddess of Spring in the * Birth of Venus,' or with the Venus in the picture of
* Venus and Mars ' in the London National Gallery, the similarity of feature will be
perceived. . . .

" The fact that the woman in the Frankfort picture wears the cameo with the design
of Apollo and Marsyas, which was in the possession of the Medici, seems to prove con-
clusively that the work was painted for a member of that family."

55otticeni 35

<<THE NATIVITY" NATIONAL GALLERY: LONDON

** T KNOW of no other picture by Botticelli," writes Dr. Richter, "so closely con-

X nected with the manner of the cinquecento as is this. The centre is occupied by
the Nativity, the subject, within the narrow cycle of Christian iconography, most fre-
quently represented in art; but the accessories present subject-matter not only unusual,
but by itself unintelligible.' In the upper part of the picture is a mysteriously worded
Greek inscription in the right interpretation of which the key to the problem is to be
found. It runs as follows: 'This picture, I, Alexander, painted at the end of the year
1 500, in the troubles of Italy, in the half-time after the time during the fulfilment of
the eleventh of St. John, in the Second Woe of the Apocalypse, in the loosing of the
devil for three years and a half. Afterwards he shall be chained, and we shall see him
trodden down, as in this picture.'

** On May i 2, 1497, exactly three and a half years before the date of this inscrip-
tion, Fra Girolamo Savonarola had been excommunicated by the Pope for heresy and
insubordination. His trial, conducted in Florence, was known to be a mere farce; he
was tortured; burned alive in the Piazza Signoria amid the triumphant shouts of his ene-
mies, and his ashes flung into the Arno. Gino Capponi, in his history of the Florentine
Republic, says: * For Florence the death of Savonarola meant the triumph of all that
was most corrupt; vice was everywhere rampant, and virtuous living was utterly de-
spised. '

** These terrible events seemed to Botticelli foretold in the awfiil words with which
the writer of the Apocalypse shadows forth the Second Woe. . . . He evidently con-
sidered that this prophecy was literally fulfilled by the life and death of Savonarola; and
he summarizes both the prophecy and his interpretation of it in the Greek inscription
above his picture.

** In the foreground are men embraced by angels, while devils hide in the clefts of
the rock; these are evidently the ' witnesses,' to whom the Spirit of Life was returned,
welcomed back to earth by angels, ere they are rapt heavenward. They bear olive
boughs in their hands, because in the Apocalypse they are called olive trees.

"There is but one point at variance with the Biblical text: in it two witnesses are
spoken of, here there are three. This deviation was doubtless intentional. When Sa-
vonarola died, two others shared his palm of martyrdom, Fra Domenico Buonvicini and
Fra Silvestre Marussi; the three figures crowned with myrtle represent the three risen
and glorified martyrs."

THE PRINCIPAL PAINTINGS OF BOTTICELLI WITH THEIR
PRESENT LOCATIONS

BERGAMO, MORELLI Gallery: Portrait of Giuliano de'Medici; Story of Virginia;
Head of Christ — Berlin Gallery: Madonna and Saints; Madonna Enthroned
(Plate vii); St. Sebastian — Dresden, Royal Gallery: Scenes from Life of St. Zanobius
— Florence, Academy: Coronation; Predella to Coronation; Spring ("Primavera")
(Plate in); Madonna, Saints and Angels; Dead Christ; Death of St. Augustine; Salome;
Vision of St. Augustine — Florence, Pitti Palace: Pallas and a Centaur (Plate vi) —
Florence, Uffizi Gallery: Birth of Venus (Plate v); Judith; Holophernes; St. Augus-
tine; Portrait of Piero de' Medici the Younger (Plate 11); Calumny; Adoration of the
Magi (Plate viii); Coronation of the Virgin (Plate iv); Madonna and Angels ("of the
Pomegranate") — Florence, Corsini Gallery: Portrait of Man with Ring — Florence,
Capponi Palace: Communion of St. Jerome — Florence, Church of Ognissanti: St.
Augustine (fresco) — Frankfort, Stadel Institute: Portrait of a Woman (Plate ix) —
London, National Gallery: Adoration of the Magi; Portrait of a Young Man; Mars
and Venus; The Nativity (Plate x) — Milan, Poldi-Pezzoli Collection: Madonna —

36 a^a^tenefin^trt

Paris, Louvre: Madonna and Child with St. John (Plate i); Lorenzo Tomabuoni Intro-
duced into the Circle of the Sciences (fresco); Giovanna Tomabuoni with Venus and the
Graces (fresco) — Rome, Sistine Chapel (frescos): Moses in the Land of Midian; De-
struction of Korah; Temptation of Christ; Single figures of Popes — St. Petersburg,
Hermitage Gallery: Adoration of the Magi.

Botticelli Btiliograpj^p

A LIST OF THE PRINCIPAL BOOKS AND MAGAZINE ARTICLES
DEALING WITH BOTTICELLI AND HIS SCHOOL

BERENSON, B. Florentine Painters of the Renaissance. (London, 1896) — Bl^nc, C.
Histoire de la Renaissance artistique en Italic. (Paris, 1889) — Burckhardt, J. Der
Cicerone (Paris, 1892) — Crowe and Cavalcaselle. History of Painting in Italy. (Lon-
don, 1864) — Frizzoni, G. Arte Italiana del Rinascimento. (Milan, 1891) — Kugler,
F. T. Handbook of Painting. (London, 1887) — Lafenestre, G. La Peinture Italienne.
(Paris, 1882) — Lee, V. Juvenilia. (London, 1887) — Lee, V. Renaissance Fancies and
Studies. (London, 1 895) — Lubke,W. History of Art. (New York, 1898) — Morelli,G.
Italian Painters :Trans. by C. J. Ffoulkes. (London, 1892) — Muntz,E. Histoire de i'Art
pendant* la Renaissance. (Paris, 1889) — Pater, W. Studies in the History of the Renais-
sance. (London,i873) — Philliniore,C.M. Botticelli. (New York, 1894) — Richter, J. P.
Lectures on the National Gallery. (London, 1898) — Rose, G. B. Renaissance Masters.
(New York, 1898) — Ruskin, J. Ariadne Florentina; Fors Clavigera. (London, 1872)

— Steinmann, E. Sandro Botticelli. (Leipsic, 1897) — Symonds, J. A. Renaissance in
Italy: The Fine Arts. (New York, 1888) — Ulmann, H. Sandro Botticelli. (Munich,
1894) — Vasari, G. Lives of the Painters. (New York, 1897) — Warburg, A. Botti-
celli's "Geburt der Venus" und "Friihling." (Hamburg, 1893) — Woermann, K.
Sandro Botticelli. [In Dohme's Kunst und Kiinstler.j (Leipsic, 1878) — Woltmann,
A. and Woermann, K. History of Painting: Trans, by Clara Bell. (London, 1880),

magazine articles

ACADEMY, VOL. 45: Botticelli's "Spring" (G. Allen and others), vol. 46: Sandro
Botticelli by Hermann Ulmann (M. Hewlitt) — Archivio Storico dell' Arte,
1893: Botticelli (D. Gnoli) — Art Journal, vol. 33: Sandro Botticelli (C. Monk-
house). VOL. 47: A New Botticelli (H. Zimmern) — Athen^um, 1896: Sandro Botti-
celli— Century Magazine, vol. i8: Botticelli (W. J. Stillman) — Chronique des
Arts, 1888: Le Pretendu Portrait de Pic de la Mirandole (E. Miintz) — Cornhill
Magazine, vol. 46: Botticelli at the Villa Lemmi (V. Lee) — Fortnightly Review,
VOL. 14: Sandro Botticelli (W. Pater) — Gazette des Beaux-Arts, 1885: La Di-
vine Comedie, Illus. par Botticelli (C. Ephrussi). 1886: Sandro Botticelli (J. A. Crowe).
1887: Dessins ined. de Botticelli (A. Perate). 1895: La Pallas de Botticelli (B. Berenson)

— Harper's Monthly Magazine, vol. 77: Sandro Botticelli (T. Child) — Jahrbuch der
Preussischen Kunstsammlungen, 1883: Die Zeichnungen des Sandro Botticelli (F. Lipp-
mann). 1890: Sandro Botticelli (J. Meyer) — La Nazione, vol. 37: Botticelli (E.
Ridolfi) — Lettere ED Arte, 1890: Sandro Botticelli (A. Padoa) — Magazine of Art,
VOL. 6: A Heretic Picture (J. Cartwright). vol. 18: Botticelli — Nation, vol. 63: Botti-
celli's Illustrations to the Divina Commedia (B. Berenson) — Portfolio, vol. 2: A
Nativity by Botticelli (S. Colvin). vol. 13: Sandro Botticelli (J. Cartwright) — Zeit-
schrift fur Bildende Kunst, 1897: Alessandro Botticelli (A. Philippi).

MASTERS IN ART

A SERIES OF ILLUSTRATED
MONOGRAPHS: ISSUED MONTHLY

PART 5

MAY, 1900

VOLUME I

l$ottittlli

CONTENTS

Plate I. "Virgin and Child with St. John"

Plate II. "Portrait of Piero de' Medici the Younger"

Plate III. "Spring"

Plate IV. "Coronation of the Virgin"

Plate V. "Birth of Venus"

Plate VI. "Pallas and a Centaur"

Plate VII. " Madonna Enthroned"

Plate VIII. "Adoration of the Magi"

Plate IX. " Portrait of a Woman "

Plate X. "The Nativity "

Portrait of Botticelli, by Himself

The Life of Botticelli

Extracts from Cartwright: " Portfolio "
The Art of Botticelli

Criticisms by Ruskin, Rose, Symonds, Berenson, Pater
The Florentine School of Painting

Extract from Bayet
The Works of Botticelli: Descriptions of the Plates and a List of Paintings

Botticelli Bibliography

Louvre: Paris

Uffizi Gallery: Florence

Academy: Florence

Uffizi Gallery: Florence

Uffizi Gallery: Florence

PiTTi Palace: Florence

Berlin Gallery

Uffizi Gallery: Florence

Stadel Institute: Frankfort

National Gallery: London

Page ao

Page 21

Page 23

Page 29

Page 31
Page 36

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